Grime: Music from architecture - 6 Minute English

47,998 views ใƒป 2021-10-28

BBC Learning English


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ. ื›ืชื•ื‘ื™ื•ืช ืžืชื•ืจื’ืžื•ืช ืžืชื•ืจื’ืžื•ืช ื‘ืžื›ื•ื ื”.

00:08
Hello. This is 6 Minute English
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ืฉืœื•ื. ื–ื•ื”ื™ 6 ื“ืงื•ืช ืื ื’ืœื™ืช
00:10
from BBC Learning
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ืžื‘ื™ืช BBC Learning
00:11
English. I'm Neil.
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English. ืื ื™ ื ื™ืœ.
00:13
And I'm Sam.
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ื•ืื ื™ ืกื.
00:14
In this 6 Minute English,
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ื‘-6 ื“ืงื•ืช ื”ืื ื’ืœื™ืช ื”ื–ื•,
00:15
we're talking about music.
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ืื ื—ื ื• ืžื“ื‘ืจื™ื ืขืœ ืžื•ื–ื™ืงื”.
00:17
What sort of music do you
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ืœืื™ื–ื” ืกื•ื’ ืžื•ื–ื™ืงื” ืืชื”
00:18
like listening to, Sam?
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ืื•ื”ื‘ ืœืฉืžื•ืข, ืกื?
00:20
Well, I wouldn't say I have
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ื•ื‘ื›ืŸ, ืœื ื”ื™ื™ืชื™ ืื•ืžืจ ืฉื™ืฉ ืœื™
00:21
one specific type. My taste
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ืกื•ื’ ืื—ื“ ืกืคืฆื™ืคื™. ื”ื˜ืขื ืฉืœื™
00:24
in songs is more eclectic - a
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ื‘ืฉื™ืจื™ื ื™ื•ืชืจ ืืงืœืงื˜ื™ -
00:26
word that describes taste
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ืžื™ืœื” ืฉืžืชืืจืช โ€‹โ€‹ื˜ืขื
00:28
which includes a wide
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ื”ื›ื•ืœืœืช
00:29
ariety of styles.
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ืžื’ื•ื•ืŸ ืจื—ื‘ ืฉืœ ืกื’ื ื•ื ื•ืช.
00:31
Well, in this programme, we're
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ื•ื‘ื›ืŸ, ื‘ืชื•ื›ื ื™ืช ื”ื–ื•, ืื ื—ื ื•
00:33
talking all about grime - a
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ืžื“ื‘ืจื™ื ื”ื›ืœ ืขืœ grime -
00:35
style of music which originated
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ืกื’ื ื•ืŸ ืžื•ื–ื™ืงื” ืฉืžืงื•ืจื•
00:37
in London specifically in
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ื‘ืœื•ื ื“ื•ืŸ ื‘ืžื™ื•ื—ื“
00:38
the tower blocks of east
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ื‘ื‘ืœื•ืง ื”ืžื’ื“ืœื™ื ืฉืœ ืžื–ืจื—
00:40
and southeast London.
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ื•ื“ืจื•ื ืžื–ืจื— ืœื•ื ื“ื•ืŸ.
00:42
Yes - the artists are
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ื›ืŸ - ื”ืืžื ื™ื ื”ื
00:43
predominantly young black
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ื‘ืขื™ืงืจ ื’ื‘ืจื™ื ืฉื—ื•ืจื™ื ืฆืขื™ืจื™ื
00:44
men and often cite the
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ื•ืœืขืชื™ื ืงืจื•ื‘ื•ืช ืžืฆื™ื™ื ื™ื ืืช
00:46
decaying tower blocks they
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ื”ืžื’ื“ืœื™ื ื”ื ืจืงื‘ื™ื ืฉื‘ื”ื
00:48
grew up in as an inspiration
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ื’ื“ืœื• ื›ื”ืฉืจืื”
00:51
for the urban style of music.
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ืœืกื’ื ื•ืŸ ื”ืžื•ื–ื™ืงื” ื”ืื•ืจื‘ื ื™.
00:53
Well, before we continue
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ื•ื‘ื›ืŸ, ืœืคื ื™ ืฉื ืžืฉื™ืš
00:54
talking about grime music,
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ืœื“ื‘ืจ ืขืœ ืžื•ื–ื™ืงืช โ€‹โ€‹ื–ื•ื•ืขื”,
00:56
I have a question for you,
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ื™ืฉ ืœื™ ืฉืืœื” ืืœื™ืš,
00:57
Sam. Stormzy is one of the
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ืกืื. ืกื˜ื•ืจืžื–ื™ ื”ื•ื ืื—ื“
00:59
most famous grime artists,
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ืžืืžื ื™ ื”ื’ืจื™ืžื” ื”ืžืคื•ืจืกืžื™ื ื‘ื™ื•ืชืจ,
01:01
but what is his real name?
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ืื‘ืœ ืžื” ืฉืžื• ื”ืืžื™ืชื™?
01:03
Is it: a) Michael Omari,
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ื”ืื ื–ื”: ื) ืžื™ื™ืงืœ ืขื•ืžืจื™,
01:05
b) Martin Owusu or
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ื‘) ืžืจื˜ื™ืŸ ืื•ื•ืกื• ืื•
01:08
c) Marvin Appiah?
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ื’) ืžืจื•ื•ื™ืŸ ืืคื™ื”?
01:11
I think I might know this
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ืื ื™ ื—ื•ืฉื‘ ืฉืื•ืœื™ ืื ื™ ืžื›ื™ืจ ืืช
01:12
one - I'll say a) Michael Omari.
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ื–ื” - ืื ื™ ืื’ื™ื“ ื) ืžื™ื™ืงืœ ืขื•ืžืจื™.
01:16
We can find out if you're
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ื ื•ื›ืœ ืœื’ืœื•ืช ืื ืืชื”
01:17
right at the end of this
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ืฆื•ื“ืง ื‘ืกื•ืฃ
01:18
programme. For many people,
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ื”ืชื•ื›ื ื™ืช ื”ื–ื•. ืขื‘ื•ืจ ืื ืฉื™ื ืจื‘ื™ื,
01:20
knowing the origin of a type
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ื”ื›ืจืช ื”ืžืงื•ืจ ืฉืœ ืกื•ื’
01:22
of music helps them to
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ืžื•ื–ื™ืงื” ืขื•ื–ืจืช ืœื”ื
01:23
understand more about the
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ืœื”ื‘ื™ืŸ ื™ื•ืชืจ ืขืœ
01:25
style and lyrics.
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ื”ืกื’ื ื•ืŸ ื•ื”ืžื™ืœื™ื.
01:27
Here's writer Jude Yawson
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ื”ื ื” ื”ืกื•ืคืจ ื’'ื•ื“ ื™ืื•ืกื•ืŸ
01:29
talking with BBC journalist
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ืžืฉื•ื—ื— ืขื ืขื™ืชื•ื ืื™ ื”-BBC,
01:30
Andrew Marr about his
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ืื ื“ืจื• ืžืืจ, ืขืœ
01:32
experience growing up on
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ื”ื—ื•ื•ื™ื” ืฉืœื• ื›ืฉื’ื“ืœ
01:34
an estate in southeast
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ื‘ืื—ื•ื–ื” ื‘ื“ืจื•ื ืžื–ืจื—
01:35
London on the BBC Radio 4
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ืœื•ื ื“ื•ืŸ ื‘ืชื•ื›ื ื™ืช BBC Radio 4
01:37
programme, Start the Week.
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, Start the Week.
01:41
Yes, so I lived like on
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ื›ืŸ, ืื– ื—ื™ื™ืชื™ ื›ืžื•
01:42
an estate. It's, it's in
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ื‘ืื—ื•ื–ื”. ื–ื”, ื–ื”
01:44
Annerley, near Crystal Palace.
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ื‘ืื ืจืœื™, ืœื™ื“ ืงืจื™ืกื˜ืœ ืคืืœืืก.
01:46
And for me growing up with
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ื•ื‘ืฉื‘ื™ืœื™ ืœื’ื“ื•ืœ ืขื
01:48
this experience was like
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ื”ื—ื•ื•ื™ื” ื”ื–ื• ื”ื™ื” ื›ืžื•
01:50
literally acknowledging the
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ืœื”ื›ื™ืจ ืžืžืฉ
01:51
different cultures and
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ื‘ืชืจื‘ื•ื™ื•ืช ื•ื‘ืขืžื™ื ื”ืฉื•ื ื™ื
01:52
peoples that lived within,
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ืฉื—ื™ื• ื‘ืชื•ื›ื,
01:54
like this state. And it
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ื›ืžื• ื”ืžืฆื‘ ื”ื–ื”. ื•ื–ื”
01:57
was around the age of about,
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ื”ื™ื” ื‘ืกื‘ื™ื‘ื•ืช ื’ื™ืœ,
01:59
say, seven or eight - that's
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ื ื’ื™ื“, ืฉื‘ืข ืื• ืฉืžื•ื ื” -
02:00
when things for me and my
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ืื– ื”ื“ื‘ืจื™ื ืขื‘ื•ืจื™ ื•ืขื‘ื•ืจ
02:02
particular estate started to
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ื”ืื—ื•ื–ื” ื”ืกืคืฆื™ืคื™ืช ืฉืœื™ ื”ืชื—ื™ืœื•
02:03
get a bit more contentious
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ืœื”ื™ื•ืช ืงืฆืช ื™ื•ืชืจ ืžืชื•ื•ื›ื—ื™ื
02:05
with the other people that
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ืขื ื”ืื ืฉื™ื ื”ืื—ืจื™ื
02:06
were moving in. Kids were
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ืฉืขื‘ืจื• ืœื’ื•ืจ. ื™ืœื“ื™ื
02:08
coming of age, becoming
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ื”ื’ื™ืขื• ืœื‘ื’ืจื•ืช, ื ืขืฉื•
02:09
more like free and
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ื™ื•ืชืจ ื›ืžื• ื—ื•ืคืฉื™ื™ื.
02:10
venturing out and around
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ื•ื™ืฆื™ืื” ื”ื—ื•ืฆื” ื•ืžืกื‘ื™ื‘
02:12
the estate. And, you
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ืœืื—ื•ื–ื”. ื•ืืชื”
02:13
know, police
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ื™ื•ื“ืข, ืžืฉื˜ืจื”
02:14
kind of, like. harassing, but
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ืงืฆืช, ื›ืื™ืœื•. ืžื˜ืจื™ื“, ืื‘ืœ
02:17
So you've got different
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02:17
cultures knocking into each
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ืื– ื™ืฉ ืœืš
ืชืจื‘ื•ื™ื•ืช ืฉื•ื ื•ืช ืฉืžืชื ื’ืฉื•ืช ื–ื•
02:19
other and the
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02:19
police knocking
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ื‘ื–ื• ื•ื”ืžืฉื˜ืจื”
ื“ื•ืคืงืช
02:20
into everybody else.
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ืืช ื›ืœ ื”ืฉืืจ.
02:23
So Jude Yawson describes his
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ืื– ื’'ื•ื“ ื™ืื•ืกื•ืŸ ืžืชืืจ ืืช
02:25
upbringing. He used the word
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ื—ื™ื ื•ื›ื•. ื”ื•ื ื”ืฉืชืžืฉ ื‘ืžื™ืœื”
02:27
contentious - likely to cause
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ืฉื ื•ื™ื” ื‘ืžื—ืœื•ืงืช - ืขืœื•ืœ ืœื’ืจื•ื
02:30
or create an argument - to
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ืื• ืœื™ืฆื•ืจ ื•ื™ื›ื•ื— - ื›ื“ื™
02:32
describe life on the estate.
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ืœืชืืจ ืืช ื”ื—ื™ื™ื ื‘ืื—ื•ื–ื”.
02:34
Yes, and he said the kids
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ื›ืŸ, ื•ื”ื•ื ืืžืจ ืฉื”ื™ืœื“ื™ื
02:36
were coming of age - meaning
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ืžืชื‘ื’ืจื™ื - ื›ืœื•ืžืจ
02:38
transitioning from a child into
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ืžืขื‘ืจ ืžื™ืœื“
02:39
an adult. In his interview,
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ืœืžื‘ื•ื’ืจ. ื‘ืจืื™ื•ืŸ ืฉืœื•
02:41
he goes on to say how a
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ื”ื•ื ืžืžืฉื™ืš ื•ืžืกืคืจ ื›ื™ืฆื“
02:43
teacher gave him the advice
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ืžื•ืจื” ื ืชื ื” ืœื• ืืช ื”ืขืฆื”
02:44
that if he ever got stabbed,
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ืฉืื ืื™ ืคืขื ื™ื™ื“ืงืจ,
02:46
not to remove the knife - as
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ืœื ืœื”ืกื™ืจ ืืช ื”ืกื›ื™ืŸ - ื›ื™
02:48
he would bleed to death.
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ื”ื•ื ื™ื“ืžื ืœืžื•ื•ืช.
02:49
He says that at the age of
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ื”ื•ื ืžืกืคืจ ืฉื‘ื’ื™ืœ
02:51
14 when he was told that, he
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14 ื›ืฉืืžืจื• ืœื• ืืช ื–ื”, ื”ื•ื
02:53
felt grateful and that the
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ื”ืจื’ื™ืฉ ืืกื™ืจ ืชื•ื“ื” ื•ืฉื”ืžื•ืจื”
02:54
teacher was looking out for
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ื“ื•ืื’ืช
02:56
him, but in hindsight
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ืœื•, ืื‘ืœ ื‘ื“ื™ืขื‘ื“
02:58
questions why a teenager
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ืฉืืœื” ืœืžื” ื ืขืจ
02:59
should receive that information.
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ืฆืจื™ืš ืœืงื‘ืœ ืืช ื”ืžื™ื“ืข ื”ื–ื”.
03:01
What this does give us in an
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ืžื” ื–ื” ื›ืŸ ื ื•ืชืŸ ืœื ื•
03:03
insight into life and the
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ืชื•ื‘ื ื” ืขืœ ื”ื—ื™ื™ื ื•ืขืœ
03:05
background of life that led to
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ื”ืจืงืข ืฉืœ ื”ื—ื™ื™ื ืฉื”ื•ื‘ื™ืœื• ืœื›ืš ืฉื›ืžื”
03:06
some people, like Stormzy,
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ืื ืฉื™ื, ื›ืžื• ืกื˜ื•ืจืžื™ื–ื™,
03:08
creating grime music. He says
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ื™ืฆืจื• ืžื•ื–ื™ืงืช โ€‹โ€‹ื–ื•ื•ืขื”. ื”ื•ื ืžืกืคืจ
03:10
that it started off in the
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ืฉื–ื” ื”ืชื—ื™ืœ ื‘ื—ื“ืจื™
03:11
bedrooms and basements of
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ื”ืฉื™ื ื” ื•ื‘ืžืจืชืคื™ื ืฉืœ
03:12
tower blocks and homes in
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ืžื’ื“ืœื™ื ื•ื‘ืชื™ื
03:14
these areas of London, with
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ื‘ืื–ื•ืจื™ื ืืœื” ืฉืœ ืœื•ื ื“ื•ืŸ, ืขื
03:16
many artists' works being
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ื™ืฆื™ืจื•ืช ืฉืœ ืืžื ื™ื ืจื‘ื™ื ืฉืฉื•ื“ืจื•
03:17
broadcast on pirate
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03:18
radio stations.
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ื‘ืชื—ื ื•ืช ืจื“ื™ื• ืคื™ืจืื˜ื™ื•ืช.
03:19
That said, for some people, this
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ืขื ื–ืืช, ืขื‘ื•ืจ ืื ืฉื™ื ืžืกื•ื™ืžื™ื,
03:21
type of music represents
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ืกื•ื’ ื–ื” ืฉืœ ืžื•ื–ื™ืงื” ืžื™ื™ืฆื’
03:22
something different. There are
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ืžืฉื”ื• ืฉื•ื ื”. ื™ืฉ
03:25
some who think the hard-hitting
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ื›ืืœื” ืฉื—ื•ืฉื‘ื™ื
03:26
lyrics and strong beats glorify
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ืฉื”ื˜ืงืกื˜ื™ื ื”ืงืฉื™ื ื•ื”ื‘ื™ื˜ื™ื ื”ื—ื–ืงื™ื ืžื”ืœืœื™ื
03:29
violence. They see it as an
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ืืœื™ืžื•ืช. ื”ื ืจื•ืื™ื ื‘ื–ื” ืฆื•ืจื”
03:31
aggressive and violent
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ืื’ืจืกื™ื‘ื™ืช ื•ืืœื™ืžื”
03:32
form of music.
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ืฉืœ ืžื•ื–ื™ืงื”.
03:34
However, Jude Yawson, speaking
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ืขื ื–ืืช, ืœื’'ื•ื“ ื™ืื•ืกื•ืŸ, ืฉืฉื•ื—ื—
03:35
with Andrew Marr on BBC Radio 4
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ืขื ืื ื“ืจื• ืžืืจ ื‘ืชื•ื›ื ื™ืช ื”-BBC Radio 4
03:38
programme Start the Week, has
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Start the Week, ื™ืฉ
03:39
a different interpretation of
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ืคืจืฉื ื•ืช ืฉื•ื ื”
03:41
what grime music is all about.
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ืœืžื” ื”ื™ื ืžื•ื–ื™ืงื” ื–ื•ืขืžืช.
03:44
I describe grime as like a
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ืื ื™ ืžืชืืจ ืืช ื”ื–ื•ื”ืžื” ื›ืžื•
03:46
soulful shout there's literally
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ืฆืขืงื” ืžืœืืช ื ืฉืžื”, ื™ืฉ ืžืžืฉ
03:47
a necessity in getting all
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ื”ื›ืจื— ืœื”ื•ืฆื™ื ืืช ื›ืœ
03:50
this content out of yourself.
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ื”ืชื•ื›ืŸ ื”ื–ื” ืžืขืฆืžืš.
03:52
One of the most predominant
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ืื—ื“
03:54
grime artists, Wiley, basically
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ืžืืžื ื™ ื”ื’ืจื™ืžื” ื”ืฉื•ืœื˜ื™ื ื‘ื™ื•ืชืจ, ื•ื•ื™ืœื™, ื‘ืขืฆื
03:56
the first person who created
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ื”ืื“ื ื”ืจืืฉื•ืŸ ืฉื™ืฆืจ ืืช
03:58
this sound - 140 beats per
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ื”ืกืื•ื ื“ ื”ื–ื” - 140 ืคืขื™ืžื•ืช
04:01
minute. That's such a raw tune,
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ืœื“ืงื”. ื–ื” ืžื ื’ื™ื ื” ื›ืœ ื›ืš ื’ื•ืœืžื™ืช,
04:04
but the chorus literally chants
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ืื‘ืœ ื”ืคื–ืžื•ืŸ ืžืžืฉ ืžื–ืžืจ
04:06
like 'there are lots of signs
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ื›ืžื• 'ื™ืฉ ื”ืžื•ืŸ ืกื™ืžื ื™ื
04:07
in life, some that you may
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ื‘ื—ื™ื™ื, ื—ืœืงื ืฉืื•ืœื™
04:09
not realise' - I was
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ืœื ื”ื‘ื ืชื' -
04:11
listening to that as
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ื”ืงืฉื‘ืชื™ ืœื–ื”
04:12
like an 11- or 12-year-old
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ื›ืžื• ื™ืœื“ ื‘ืŸ 11 ืื• 12
04:14
and it's very existential.
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ื•ื–ื” ืžืื•ื“ ืงื™ื•ืžื™.
04:17
He used the word predominant,
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ื”ื•ื ื”ืฉืชืžืฉ ื‘ืžื™ืœื” ื“ื•ืžื™ื ื ื˜ื™ืช,
04:19
which describes the
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ืฉืžืชืืจืช โ€‹โ€‹ืืช ื”ื“ื‘ืจ
04:20
strongest or most important
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ื”ื—ื–ืง ื‘ื™ื•ืชืจ ืื• ื”ื—ืฉื•ื‘ ื‘ื™ื•ืชืจ
04:22
thing, to describe the artist
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, ื›ื“ื™ ืœืชืืจ ืืช ื”ืืžืŸ
04:24
Wiley. That's who Jude Yawson
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ื•ื•ื™ืœื™. ื–ื” ืžื™ ืฉื’'ื•ื“ ื™ืื•ืกื•ืŸ
04:27
says was the first person to
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ืื•ืžืจ ืฉื”ื™ื” ื”ืื“ื ื”ืจืืฉื•ืŸ
04:29
create the grime sound.
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ืฉื™ืฆืจ ืืช ืฆืœื™ืœ ื”ื–ื•ื”ืžื”.
04:31
He also used the verb
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ื”ื•ื ื’ื ื”ืฉืชืžืฉ
04:33
chants - sings repeatedly
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ื‘ืžื–ืžื•ืจื™ ื”ืคื•ืขืœ - ืฉืจ ืฉื•ื‘ ื•ืฉื•ื‘
04:35
over and over - to talk about the
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ื•ืฉื•ื‘ - ื›ื“ื™ ืœื“ื‘ืจ ืขืœ
04:37
chorus from one of Wiley's songs.
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ื”ืคื–ืžื•ืŸ ืžืื—ื“ ื”ืฉื™ืจื™ื ืฉืœ ื•ื•ื™ืœื™.
04:40
And he described the
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ื•ื”ื•ื ืชื™ืืจ ืืช
04:41
experience of listening to it
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ื—ื•ื•ื™ืช ื”ื”ืงืฉื‘ื” ืœื•
04:43
as being existential - relating
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ื›ืงื™ื•ืžื™ืช โ€“ ื”ืžืชื™ื™ื—ืกืช
04:46
to human existence.
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ืœืงื™ื•ื ื”ืื ื•ืฉื™.
04:48
Which inspires me to go and
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ืžื” ืฉื ื•ืชืŸ ืœื™ ื”ืฉืจืื” ืœืœื›ืช
04:50
listen to some grime music
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ื•ืœื”ืื–ื™ืŸ ืœืžื•ื–ื™ืงื” ื–ื•ืขืžืช
04:51
after today's show, but
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ืื—ืจื™ ื”ื”ื•ืคืขื” ืฉืœ ื”ื™ื•ื, ืื‘ืœ
04:53
before we do - I asked you
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ืœืคื ื™ ืฉื ืขืฉื” ื–ืืช - ืฉืืœืชื™ ืื•ืชืš
04:54
a question about the
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ืฉืืœื” ืœื’ื‘ื™
04:55
real name of the
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ื”ืฉื ื”ืืžื™ืชื™ ืฉืœ
04:56
grime artist Stormzy.
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ืืžืŸ ื”ื’ืจื™ืžื” Stormzy.
04:58
You did. And being a fan
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ืืชื” ืขืฉื™ืช. ื•ื‘ื”ื™ื•ืชื™ ืžืขืจื™ืฅ
05:00
of many different music
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ืฉืœ ืกื’ื ื•ื ื•ืช ืžื•ื–ื™ืงื” ืจื‘ื™ื ื•ืฉื•ื ื™ื
05:02
styles - I think I know
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- ืื ื™ ื—ื•ืฉื‘ ืฉืื ื™ ืžื›ื™ืจ
05:04
this one! I said
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ืืช ื–ื”! ืืžืจืชื™
05:05
a) Michael Omari.
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ื) ืžื™ื›ืืœ ืขื•ืžืจื™.
05:08
You really do know your
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ืืชื” ื‘ืืžืช ืžื›ื™ืจ ืืช
05:09
music, Sam. You're right.
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ื”ืžื•ื–ื™ืงื” ืฉืœืš, ืกื. ืืชื” ืฆื•ื“ืง.
05:10
In fact, his full name is
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ืœืžืขืฉื”, ืฉืžื• ื”ืžืœื ื”ื•ื
05:12
Michael Ebenezer Kwadjo
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ืžื™ื™ืงืœ ืื‘ื ืขื–ืจ ืงื•ื•ื“ื’'ื• ืขื•ืžืจื™
05:14
Omari Owuo Jr. I think that
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ืื•ื•ืื• ื’'ื•ื ื™ื•ืจ. ืื ื™ ื—ื•ืฉื‘
05:17
I'll have to make the next
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ืฉืื ื™ ืืฆื˜ืจืš ืœื”ืงืฉื•ืช ืขืœื™ืš
05:18
question much harder
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ื‘ื”ืจื‘ื” ืืช ื”ืฉืืœื” ื”ื‘ืื”
05:19
for you! So, before we
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! ืœื›ืŸ, ืœืคื ื™
05:21
leave today, we should recap
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ืฉื ืขื–ื•ื‘ ื”ื™ื•ื, ืขืœื™ื ื• ืœืกื›ื ืืช
05:22
today's vocabulary,
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ืื•ืฆืจ ื”ืžื™ืœื™ื ืฉืœ ื”ื™ื•ื,
05:24
starting with eclectic,
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ื”ื—ืœ ื‘ืืงืœืงื˜ื™ื•ืช,
05:25
a word which describes
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ืžื™ืœื” ื”ืžืชืืจืช
05:27
taste which includes a
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ื˜ืขื ื”ื›ื•ืœืœืช ืžื’ื•ื•ืŸ ืจื—ื‘
05:28
wide variety of styles.
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ืฉืœ ืกื’ื ื•ื ื•ืช.
05:31
Contentious means creating
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ืžื—ืœื•ืงืช ืคื™ืจื•ืฉื” ื™ืฆื™ืจื”
05:33
or causing arguments.
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ืื• ื’ืจื™ืžืช ื•ื™ื›ื•ื—ื™ื.
05:36
We also had coming of
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ื”ื™ื” ืœื ื• ื’ื
05:37
age - transitioning from
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ื”ืชื‘ื’ืจื•ืช - ืžืขื‘ืจ
05:39
child to adult.
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ืžื™ืœื“ ืœืžื‘ื•ื’ืจ.
05:40
Predominant refers to
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ื“ื•ืžื™ื ื ื˜ื™ ืžืชื™ื™ื—ืก
05:42
something that is the
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ืœืžืฉื”ื• ืฉื”ื•ื
05:43
strongest or most important.
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ื”ื—ื–ืง ื‘ื™ื•ืชืจ ืื• ื”ื—ืฉื•ื‘ ื‘ื™ื•ืชืจ.
05:46
Chants is a verb which means
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ืคื–ืžื•ื ื™ื ื”ื•ื ืคื•ืขืœ ืฉืžืฉืžืขื•ืชื•
05:48
sing or repeat the same
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ืœืฉื™ืจ ืื• ืœื—ื–ื•ืจ ืขืœ ืื•ืชื•
05:49
thing over and over again.
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ื“ื‘ืจ ืฉื•ื‘ ื•ืฉื•ื‘.
05:51
And existential means
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ื•ืžืฉืžืขื•ืช ืงื™ื•ืžื™ืช
05:52
relating to human existence.
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ื”ืžืชื™ื™ื—ืกืช ืœืงื™ื•ื ื”ืื ื•ืฉื™.
05:54
Thanks, Neil. Well we
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ืชื•ื“ื”, ื ื™ืœ. ื•ื‘ื›ืŸ,
05:55
certainty learnt a lot
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ื‘ื•ื•ื“ืื•ืช ืœืžื“ื ื• ื”ืจื‘ื”
05:56
about grime music and
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ืขืœ ืžื•ื–ื™ืงืช โ€‹โ€‹ื”ื–ื•ื”ืžื” ื•ื”ืžืงื•ืจ
05:57
its origin, but that's
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ืฉืœื”, ืื‘ืœ ื–ื”
05:58
not the only thing we can learn about, is it?
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05:58
Nope - there are lots
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ืœื ื”ื“ื‘ืจ ื”ื™ื—ื™ื“ ืฉืื ื—ื ื• ื™ื›ื•ืœื™ื ืœืœืžื•ื“ ืขืœื™ื•, ื ื›ื•ืŸ?
ืœื - ื™ืฉ
05:59
more 6 Minute English
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ืขื•ื“ ื”ืžื•ืŸ ืชื•ื›ื ื™ื•ืช ื‘ืื ื’ืœื™ืช ืฉืœ 6 ื“ืงื•ืช
06:00
programmes to enjoy on
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ืœื™ื”ื ื•ืช
06:01
our website at
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ืžื”ืืชืจ ืฉืœื ื• ื‘ื›ืชื•ื‘ืช
06:02
bbclearningenglish.com
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bbclearningenglish.com
06:04
which talk about a range of topics, an eclectic mix
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06:04
to use one of today's words. You can also find us on
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06:04
social media and on our free app. Thanks for
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ืฉืžื“ื‘ืจื•ืช ืขืœ ืžื’ื•ื•ืŸ ื ื•ืฉืื™ื, ืฉื™ืœื•ื‘ ืืงืœืงื˜ื™
ื›ื“ื™ ืœื”ืฉืชืžืฉ ื‘ืื—ืช ืžื”ืžื™ืœื™ื ืฉืœ ื”ื™ื•ื. ืืชื” ื™ื›ื•ืœ ืœืžืฆื•ื ืื•ืชื ื• ื’ื
ื‘ืžื“ื™ื” ื”ื—ื‘ืจืชื™ืช ื•ื‘ืืคืœื™ืงืฆื™ื” ื”ื—ื™ื ืžื™ืช ืฉืœื ื•. ืชื•ื“ื” ืขืœ
06:05
listening and goodbye.
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ื”ื”ืงืฉื‘ื” ื•ืœื”ืชืจืื•ืช.
06:08
Goodbye.
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ื”ึฑื™ื” ืฉืœื•ื.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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